amphibrach

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am·phi·brach

 (ăm′fə-brăk′)
n.
A trisyllabic metrical foot having one accented or long syllable between two unaccented or short syllables, as in the word remember.

[Latin amphibrachys, from Greek amphibrakhus : amphi-, amphi- + brakhus, short; see mregh-u- in Indo-European roots.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

amphibrach

(ˈæmfɪˌbræk)
n
(Poetry) prosody a metrical foot consisting of a long syllable between two short syllables (˘¯˘). Compare cretic
[C16: from Latin, from Greek amphibrakhus, literally: both ends being short, from amphi- + brakhus short]
ˌamphiˈbrachic adj
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

am•phi•brach

(ˈæm fəˌbræk)

n.
a trisyllabic metrical foot whose syllables are short, long, short in quantitative meter, and unstressed, stressed, unstressed in accentual meter.
[1580–90; < Latin amphibrachus < Greek amphíbrachys short at both ends =amphi- amphi- + brachýs short]
am`phi•brach′ic, adj.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.amphibrach - a metrical unit with unstressed-stressed-unstressed syllables (e.g., `remember')
metrical foot, metrical unit, foot - (prosody) a group of 2 or 3 syllables forming the basic unit of poetic rhythm
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
In "Nocturno XII," recurring amphibrachs parallel the repeated triplets comprising the bass line, groups of six sixteenth notes, and the principal motif (combinations of four sixteenth notes and a quarter note) - all patterns felt in three.
It does not seem enough to declare that beneath a seeming "disarray of amphibrachs, dactyls, iambs" there is "clear metrical regularity" (188).
Rhythmic motifs in both voice and piano vacillate between the anapests and the amphibrachs of the poem, but in no regular manner.
This action, though, threatens also the Kantian fact that clear aesthetic autonomous metrical rules (for instance, for "the" ballad, or for amphibrachs) must act apart from any reduction to political and economic counts.